A Quote by Michael J. Rosen
The cat is a character of being, the dog, a character of doing.
Related Quotes
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
Reputation is seeming; character is being. Reputation is manufactured; character is grown. Reputation is your photograph; There is a vast difference between character and reputation. Reputation is what men think we are; character is what God knows us to be. Reputation is seeming; character is being. Reputation is the breath of men; character is the inbreathing of the eternal God. One may for a time have a good reputation and a bad character, or the reverse ; but not for long.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
You have no control over your cat! You can't say to your cat, "Cat, heel! Stay! Wait! Lie down! Roll over!" 'Cause the cat's just gonna be sitting there going, "Interesting words ... have you finished?" While you're shouting all this to your cat, your dog's next to you, going ... [mimes obeying all commands] "What the hell are you doing? I'm talking to the cat!" "Oh, I'm sorry!"
I do not know what the cat can have eaten. Usually I know exactly what the cat has eaten. Not only have I fed it to the cat, at the cat's insistence, but the cat has thrown it up on the rug, and someone has tracked it all over onto the other rug. I do not know why cats are such habitual vomiters. They do not seem to enjoy it, judging by the sounds they make while they are doing it. It's their nature. A dog is going to bark. A cat is going to vomit.
It's a challenge of to write a narrator who is doing something that is really unlikeable and morally questionable. A lot of times, you read a book because you like the character, you are cheering for the character; you want the best for the character.
The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.
I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
You have a certain objectivity, as a member of the audience, and you can come away maybe being provoked into a certain discourse or a certain arena of questioning, regarding how you would deal with things that your character has to deal with. Whereas when you're doing a film, once you start asking, "What would I do?," you're getting the distance greater between yourself and the character, or you're bringing the character to you, which I think is self-serving, in the wrong way. The idea is to bring yourself to the character.
I'm pulling out different aspects of my personality in writing each character and, if I'm doing my job well, I'm being true to the situation and true to the character.
When I get excited about a character, I'll start doing things as the character and thinking about what the character would do.
When you're no longer seeing yourself, in some ways. You're as close to being as you can be.I suppose that's consistent with the moment that the mind actually turns off, and is no longer questioning what you're doing. When the questions stop, that's when the real acting takes over. And trying to get to the point where the questions stop, "Would I do this? How do I feel about that as a character?" When those stop, and it's just doing X, Y, and zed, because that's what you'd do as this character, because you're inside this character somehow - that's when it really kicks off.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
You can't judge a character that you're playing, because then you're fighting against doing what the character's doing.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
Related Authors
Ayn Rand Quotes
Russian
Writer
C. S. Lewis Quotes
British
Writer
Francois de La Rochefoucauld Quotes
French
Writer
Gilbert K. Chesterton Quotes
English
Writer
H. L. Mencken Quotes
American
Writer
Haruki Murakami Quotes
Japanese
Writer
Kurt Vonnegut Quotes
American
Writer
Leo Tolstoy Quotes
Russian
Writer
Mark Twain Quotes
American
Writer
Mason Cooley Quotes
American
Writer
Ray Bradbury Quotes
American
Writer
Samuel Johnson Quotes
English
Writer
Seth Godin Quotes
American
Writer
Sherrilyn Kenyon Quotes
American
Writer
Suzanne Collins Quotes
American
Writer